Glen Duncan Is A Dick

[The following screed reflects the opinions of contributor Aaron Hughes, and not necessarily the views of the Fantastic Reviews Blog. It concerns an issue about which Hughes is perhaps a tad oversensitive, but that doesn't mean he's wrong.]

I've never met Glen Duncan, so I don't know if he's always a dick. What I know is he made a dick of himself with this review in the New York Times. Duncan reviewed Zone One by Colson Whitehead, a new zombie novel by a respected mainstream author.

Duncan begins his review: "A literary novelist writing a genre novel is like an intellectual dating a porn star." In this analogy, genre fiction is the porn star, sexy but stupid, while the intellectual is Colson Whitehead. Much more to the point, the intellectual is Glen Duncan, also a mainstream author who has dabbled in genre tropes, particularly in his most recent novel The Last Werewolf and its forthcoming sequels (which have made him Britain's second most successful fantasy novelist named "Duncan," behind Hal Duncan). Glen Duncan's review is in large part a self-serving complaint about the mistreatment "literary" novelists receive when they write genre. So, for example, when Duncan warns Whitehead that uncultured Amazon reviewers will fail to appreciate his intellectual approach to zombie fiction, we can safely infer that Duncan has been closely studying his own Amazon reviews.

Let me offer a counter-analogy to Glen Duncan's porn star comparison. Glen Duncan fancies himself an intellectual, so we'll picture him as a college professor. And since he doesn't see anything wrong with dropping casual references to women as mindless bimbos, let's place him in the 1950's. Duncan is at a faculty party when the new associate professor arrives with his wife, so gorgeous and shapely one might say she looks like a porn star. Duncan enviously snickers to the other tenured professors in the corner about what hot sex the new guy must be getting, but he never speaks to the fellow's wife long enough to realize she is the smartest person in the room.

In his review, Duncan snickers that knuckle-dragging genre readers will balk at Whitehead's use of terms like "cathected" or "brisant." He makes a point of dropping fancy terms of his own -- I had to scratch my low brow at his reference to "ludic violence." But China Miéville, arguably the most important British fantasist of the current generation, doesn't shield his genre readers from his extensive vocabulary. If Duncan hasn't read Miéville, how about J.G. Ballard and Thomas Disch, British authors who were using lots of them big words in their genre fiction before Glen Duncan learned to stop sucking his thumb? Duncan's assertion that authors must dumb down their language to satisfy genre readers is demonstrably false, and only reveals his own appalling ignorance of the genre he is currently writing in and writing about.

(As an aside, Colson Whitehead doesn't seem to share Duncan's insulting and condescending attitudes. He recently admonished literary purists asking why he would write genre fiction, "Don't be such a snob." So we should try not to hold Duncan's deplorable review against Whitehead.)

I will grant Duncan that genre readers have less tolerance than "literary" mainstream readers of aimless meanderings in their fiction. In his review of Zone One, Duncan is untroubled to declare that the book has no plot, and he snidely dismisses anyone who might dislike this as suffering from "limited attention span." But could it be that genre fans are simply more discerning readers? The strength of the science fiction, fantasy, and horror genre is that most of its authors seek to combine an effective writing style with an engaging story. And once you become accustomed to books that tell a good story, you can quickly lose patience with those that don't.

A few days before Duncan's obnoxious review, the New York Times published a more thoughtful review of recent genre fiction by Dana Jennings. Jennings correctly identified Geoff Ryman's "Pol Pot's Beautiful Daughter" as one of the most powerful stories of the past decade. "Pol Pot's Beautiful Daughter" is a ghost story by a genre writer, but I would be surprised to learn that Glen Duncan has ever in his career written a passage as beautiful or thought-provoking.

Of course, not all genre fiction holds to this level. A few authors have found great commercial success despite clunky prose, by keeping their stories moving along and usually by including plenty of sex. But a great many science fiction, fantasy, and horror authors take a far more literary approach to the genre. And the readers who enjoy their literary genre fiction are in many cases the same readers who made Glen Duncan's Last Werewolf a success. If Duncan would like the sequel to earn out its advance, he had best hope that his readers were too busy watching porn to read the New York Times this weekend.

Aaron's Story Recommendation of the Week :: "Run," Bakri Says by Ferrett Steinmetz

My Story Recommendation of the Week is for "'Run,' Bakri Says" by Ferrett Steinmetz, from the December 2011 issue of Asimov's. This is Steinmetz's second SROTW.

Authors have been writing stories inspired by video games since I first began reading science fiction in the 1970's, and for far longer than that they've been writing fiction to illustrate the dehumanizing effects of war. Yet in "'Run,' Bakri Says," Ferrett Steinmetz manages to do both in an original and powerful way.

In an unnamed battlefield in the War on Terror, Irena is desperate to rescue her brother, captured by American soldiers, before he reveals to them what he has invented. She uses the invention to try to save him, but its effects are not predictable. The inexorable progression of the rescue attempt is both poignant and disturbing.

I don't want to reveal the way the brother's invention works, for fear of spoiling how the story unfolds, but I will say it involves a subtle form of time travel. And so I'm most annoyed the story came out at the same time as my story Random Fire, thus entirely overshadowing my own attempt at writing a fresh time travel story.

"'Run,' Bakri Says" is not a pleasant story to read, but you'll be glad you did.

New Story Published :: Random Fire at Abyss & Apex

Forgive a moment of self-promotion, but I have a new story called Random Fire just posted in the 4th Quarter 2011 issue of Abyss & Apex. This story has a rather unusual structural element to it, but one you might miss if you read quickly. I am very anxious to learn how many readers catch the gimmick, and what they think of it.

This is my fourth published story, with two more forthcoming. It's making me feel almost like an actual writer. Heck, I even have a perfunctory author page. Man, I better go write something . . .

Aaron's Story Recommendation of the Week :: Ray of Light by Brad R. Torgersen

An alarming trend over the past few years has been the dismal tone of most new science fiction. Gene Roddenberry credited the success of Star Trek to the fact that it offered viewers hope for the future. While there is plenty of excellent new science fiction today, not much of it is very hopeful. It's as if a few years' economic slowdown has defeated our collective abilities to imagine a better future.

My story recommendation of the week is for "Ray of Light" by Brad R. Torgersen, from the December 2011 issue of Analog (cover art by Bob Eggleton), which lives up to its title, a ray of light in the gloominess of 21st Century science fiction.

"Ray of Light" starts out well within the parameters of the dark style currently in vogue. The story is set some twenty years after aliens entered our solar system and scattered a cloud of small mirrors inside the Earth's orbit, depriving our world of most of the sun's light. Max Leighton and his teenage daughter Jenna are two of the small group of remaining humans, struggling to survive at the bottom of the frozen oceans. Early on, Max flashes back to when Jenna was four and asked why they didn't live where it's dry and sunny like the characters on Chloe and Joey, her favorite pre-catastophe kids' show:

People were dying all over the world when NASA and the Navy began deploying the deepwater stations. The Russians and Chinese, the Indians, all began doing the same. There was heat at the boundaries between tectonic plates. Life had learned to survive without the Sun near hydrothermal vents. Humans would have to learn to live there too.

And we did, after a fashion.

I explained this as best as I could to my daughter.

She grew very sad, a tiny, perplexed frown on her face.

"I don't want to watch Chloe and Joey anymore," she said softly.

Max and the other adults in this deep-water society work hard to keep everyone alive, but in their hearts they have lost hope for the future. Jenna and her young friends will need to teach them (and us) a lesson about maintaining the determination to reach for a better tomorrow. It makes for a moving reading experience.

I had the pleasure of meeting Brad Torgersen at the Writers of the Future workshop -- he was a winner the year before with his excellent story "Exanastasis," which you can find in Writers of the Future, Vol. XXVI. Brad is a Chief Warrant Officer in the U.S. Army Reserve, and looked sharp in his dress uniform at the WOTF ceremony. Since winning WOTF, he has become a regular in Analog. His story "Outbound" was the AnLab winner as Analog readers' favorite novelette of 2010, and I certainly won't be surprised if "Ray of Light" makes him a repeat winner.

Aaron's Story Recommendation of the Week :: In Apprehension, How Like a God by R.P.L. Johnson

My story recommendation of the week is for "In Apprehension, How Like a God" by R.P.L. Johnson, the third SROTW I'm permitting myself from Writers of the Future, Vol. XXVII. The gorgeous illustration is by Dustin Panzino, reproduced here with his kind permission.

"In Apprehension, How Like a God" was this year's WOTF Gold Award winner, and a most worthy champion. (But not necessarily the only story that would have been worthy -- I'm glad I didn't have to vote on that.)

The story is set in a future where the internet has been superseded by the aethernet, which allows everyone to see images and information superimposed over everything around us using the Higgs field, a quantum field permeating the universe. (The Higgs field is a real physics concept, but not yet known to have all the properties described in this story.) Our protagonist, Detective Conroy, must investigate a murder at the monastic "Academy" in Uganda, home of the AI "nodes" that superimpose all that information onto the Higgs field. Conroy soon learns that the Academy is working on improving the nodes so they can "read" the Higgs field as well as "write" onto it:

Now I was the one feeling sick. "You're describing a machine that's as close to omniscient as makes no difference."

"Omniscient," the Arch-Mage weighed the ancient word. "I suppose so, within certain practical parameters of storage, processing capacity and power consumption. But in any case the project is at an early stage."

Hopefully it's not giving too much away to say that the murder relates to someone's attempt to gain control of the aethernet, control that would give you the power to change the reality being experienced by anyone you choose. The savvy reader can guess that Detective Conroy will be subject to such a reality shift, which not only makes his job difficult, but also proves an effective metaphor for his personal turmoil since the death of his daughter.

"In Apprehension, How Like a God" (the title is from Hamlet) is a great example of effective post-cyberpunk science fiction. It has all the interesting techy speculations of a future where we simultaneously co-inhabit the real world and a consensually visualized virtual world. But at the same time it is a strong story on an emotional level, with none of the coldness or smartassery that pervaded much of the original cyberpunk subgenre.

In addition to Writers of the Future XXVII, Richard Johnson has appeared at AlienSkin Magazine -- you can find that story here -- and he has another story forthcoming at Andromeda Spaceways Inflight Magazine, with hopefully many more to follow.

Let me conclude by emphasizing one more time, all of the WOTF27 winners are excellent. For purposes of SROTW, I've limited myself to three stories that especially spoke to me personally, but another reader might as easily have three different favorites. I read quite a bit of short fiction, and I keep a running list of my favorites of the year. So far I've read well over 100 pieces of short fiction published in 2011, and most of the WOTF27 winners are currently on either my top ten novelette list or my top ten short story list. That's some high-quality writing, and I am proud to be in a table of contents with every one of the other winners.

Aaron's Story Recommendation of the Week :: What You Singing About? by T.J. Berg

I don't often give my Story Recommendation of the Week to flash fiction, but even at less than 200 words, What You Singing About? by T.J. Berg, from Daily Science Fiction's August 2011 lineup, really worked for me.

You've wondered what to give someone who has everything. Well, "What You Singing About?" answers the question: What does someone who has everything ask for in a deal with the devil?

Our protagonist is a happy person, with a good wife and children. In fact, that's all we know about him -- the only other characterization comes through his diction. So what would a very happy person most need? T.J. Berg's answer to that question is good fun, layered with irony.

Tracy Berg is an American now researching in Scotland. She has had fiction in Talebones, Electric Velocipede, and Tales of the Unanticipated. Here's looking forward to much more.

Aaron's Story Recommendation of the Week :: Medic! by Adam Perin

My story recommendation of the week is for "Medic!" by Adam Perin, from Writers of the Future, Vol. XXVII, the second of the three SROTW's I'm permitting myself to give to fellow WOTF27 winners (even though all the other winners are deserving). The illustration is by Gregory J. Gunther, reproduced here with his kind permission.

While all the Writers of the Future winners are exceptional in different ways, to me "Medic!" is the single most successful WOTF27 winner at creating a distinctive voice. The first-person narrative perfectly conveys the main character's brusque but conflicted personality, right from the opening lines:

Some guys go insane from being buried alive. I always get drowsy.

Our protagonist Sergeant Silk is a convict who was paroled because his skills as a medic were desperately needed in a bloody interplanetary war. He can go home to his fiancée if he survives long enough to save 1000 soldiers. He's currently at 995.

Adam Perin does a nice job of understandably presenting a far-future medic's difficult job. More importantly, "Medic! is a superb character study. Sergeant Silk is skilled at his work, he takes no shit from anyone rank be damned, and he is barely holding a lid on his tumultuous emotions. His story makes for gripping reading.

After sampling a host of different professions (including emergency medical technician), Adam Perin is now a diplomat with the U.S. State Department. "Medic!" is his first professional fiction sale. We'll let him retire when he gets to 1000.

Aaron's Story Recommendation of the Week :: The Man Who Bridged the Mist by Kij Johnson

My story recommendation of the week is for "The Man Who Bridged the Mist" by Kij Johnson, cover story of the October/November issue of Asimov's Science Fiction (cover by Paul Youll).

The past few years, Kij Johnson has been winning awards with short parables, such as the delightful "26 Monkeys, Also the Abyss," the disturbing "Spar," and the delightful-but-then-disturbing "Ponies." "The Man Who Bridged the Mist" is quite different from those pieces -- longer and more deliberate, less flashy -- but similarly rewarding.

Kit Meinem is in charge of building a massive bridge over the great river bisecting the empire that employs him. This has never been done, because the river is covered in "mist." Mist is a misnomer; this layer is lighter than water, but still dense enough to support boats on its shifting surface and strange varieties of "fish" beneath. The "fish" are poorly understood, especially the largest and most dangerous, which the locals unimaginatively call "Big Ones."

The huge undertaking will demand all Kit's skills both as engineer and politician, as he tries to maintain the support of the locals. Kit becomes fascinated with the ambivalent reactions of the local ferry operators, the beautiful Rasali Ferry and her brother Valo. The bridge will put them out of work (compelling them to change last names), but then again it may save them from their profession's customary early death -- each ferry crossing is a hazardous trip.

The huge bridge symbolizes Kit's desire for meaningful interpersonal connections, but Johnson employs the metaphor delicately enough that it's never annoying. At novella length, Johnson is able to coax the relationships between her characters along gently, in a way that proves most satisfying. For example, halfway into the story, Kit and Rasali have spent a fair bit of time together but it's not clear how close they have become. Then, while Rasali is on the opposite bank, Kit sees one of his bridge workers killed. Kit first worries how the townspeople will react, then flashes back to a university instructor talking about how Kit relates to people:

You're good with people, I've seen it. You like them. . . . But inside the framework of a project. Right now it's your studies. Later it'll be roads and bridges. But people around you -- their lives go on outside the framework. They're not just tools to your hand, even likable tools. Your life should go on, too. You should have more than roads to live for. Because if something does go wrong, you'll need what you're feeling to matter, to someone somewhere, anyway.

When Rasali returns to Kit's side of the river, she immediately helps him to express his own grief over those who have died under his command, and we realize, even if he does not, that Kit now has someone to whom what he's feeling matters.

The science fictional aspects of this story mostly stay in the background, and some readers may find the tale lacking in drama, but I don't think it would benefit from extra explosions or action sequences. This a story of believable characters, who experience real confusion and pain, and I grew to like them very much.

Weird Moves at Weird Tales

Ann VanderMeer has announced that she will no longer be editing Weird Tales. Apparently Marvin Kaye has purchased the magazine, intending to edit it himself.

I find this decision most unfortunate and, I must say, rather weird. Weird Tales had become a much more interesting magazine under Ann VanderMeer and her staff, an intriguing blend of high fantasy, dark fantasy, absurdism, even a little science fiction. It's had a gorgeous look with Mary Robinette Kowal as art director and interesting features under non-fiction editor Paula Guran. I wasn't the only one who was impressed -- the magazine just won its first Hugo Award two years ago.

VanderMeer says the first issue with Marvin Kaye as editor will be "Cthulhu-themed," which suggests the new direction will be a big step backwards. Perhaps there's still a large untapped market for H.P. Lovecraft and Robert E. Howard pastiches, although the ongoing struggles of Weird Tales to stay afloat since the 1950's suggest otherwise. But as much as I love the old pulp version of Weird Tales, it seems to me that writers have already had plenty of time to add to the Cthulhu mythos and explore Conan-style sword & sorcery. I suppose I shouldn't pre-judge what Marvin Kaye plans for Weird Tales, but his initial decision to jettison the current excellent staff does not bode well.

I just subscribed to Weird Tales for the first time this year, but now I highly doubt I'll be renewing that subscription.

Aaron's Story Recommendation of the Week :: Maddy Dune's First and Only Spelling Bee by Patrick O'Sullivan

The story recommendation of the week is for "Maddy Dune's First and Only Spelling Bee" by Patrick O'Sullivan, from Writers of the Future, Vol. XXVII. The striking illustration is by Meghan Muriel -- you can see more of her amazing portfolio, along with news of her upcoming projects, at her Facebook page.

So I had decided the stories in Writers of the Future 27 should not be eligible for SROTW since, having spent nine days together with all the other WOTF27 authors, I am far too deeply biased to evaluate the book objectively. But I just can't help myself. This book include some of the best works of short fiction I've read in the past several years, and I want them included in the SROTW honor roll.

The most I can do is limit myself to three of the stories that particularly speak to me. This should not be taken to suggest anything at all negative about any of the other WOTF27 stories, every one of which is written at a very high level (excluding my own, which I can't comment on), and I am proud to appear alongside all of these talented (and super-nice) new authors. Two of them, Keffy Kehrli and Jeff Lyman, have already received story recommendations for non-WOTF pieces, and I suspect they all will before long.

So with that disclaimer, we begin with Patrick O'Sullivan's "Maddy Dune's First and Only Spelling Bee." "Maddy Dune" is Patrick O'Sullivan's first published story, but it is so imaginative and beautifully written, I am certain we will see much more outstanding work from him in the future (which hopefully he will tell us about at his web page).

Maddy Dune is a part-human, part-"spectral hound" girl adopted by human stepparents, who have been teaching her magic. She does not fit in well in polite society, but she hopes success in the big spelling bee will help. Maddy lives in a world where "spelling bees" have nothing to do with whether "i" comes before "e."

Most of the tale takes place on the stage of an auditorium, yet this is a tremendously vivid and engaging story. I enjoyed this piece from start to finish, and I read it to a group in my office who loved it as well. You need to find a copy of Writers of the Future, Vol. XXVII and read "Maddy Dune's First and Only Spelling Bee." And then, since you have the book anyway, why not check out some of the other stories?